Then I discovered she was loosely tied to the whole Youthquaker fashion movement, which started in London, and loved what it represented to that generation. So many problems and tragedy you could see the sadness in her eyes. She was the raw form of Twiggy and Jean Shrimpton. She was like the anti-model: beautiful, but with a lot of psychological disturbances.
I started listening to a lot of Bob Dylan and developed an interest in Edie Sedgwick. I wish she was still here, so she could tell me, "Phlo, you can be a Youthquaker!" It has to be self-proclaimed at this point. Why are you interested in the Youthquaker fashion era? Is Diana Vreeland a hero? I never want to just be perceived as a pretty face I'm trying to come from a more intelligent and eloquent place that allows the music to take front and center. What are your visual priorities as an artist? and is sort of a vintage style fashion film it doesn't really have a linear narrative, it just positions me in various vignettes. It's for the last track, "Wrong #," on the Crown Gold EP we wanted it to feel like a transition into the new project. We're about to premiere your latest video.
We'll see how she evolves that promising formula on Youthquaker, her soon-to-be-released debut album. That's the dreamy, disturbed route Finister is paving for us: pairing two integral hits from 1997 against each other, feeding them through a 1966 Polaroid Swinger, and re-imagining a future past to come. It's a marvel of modern fusion, a fever dream of a death ode, delivered by a singer dressed like a long-lost member of the Shangri-Las. On her debut EP, Crown Gold, Finister slyly converts Garbage's doom-pop anthem "#1 Crush" into "Hail Mary," a slinky, slow-crawling bit of nocturne that rides on the beat of 2 Pac's classic of the same name. "I wasn't rebelling, I just suddenly knew I was destined for the stage."įinister's own "avant-garde R&B" music marries the creeping cinematics of a classic torch song with the psychological discomfort of macabre Nineties radio. "When I found mod, I found myself," she says.
Models Jean Shrimpton and Twiggy, as well as Diana Vreeland – the powerful Vogue editrix who christened those intrepid ingenues as definers of their generation – became her heroines, and provided both a departure from her bleak circumstance and a creative compass for her own future. She found Bob Dylan, then Edie Sedwick, then lost herself in the Swinging London-era fantasy of "Youthquakers," a sharply stylish and modern collective of young women emblematic of all the things she loved and aspired to be. Growing up on the rougher side of L.A., Finister sought solace and hope in music, falling in love with particularly visual strands of Sixties music at an early age.
Phlo finister tattoos mod#
Phlo finister tattoos license#
under exclusive license to Savoir Faire - Bromance Recordsģ years later, still a work of art Comment by 𝖍 𝖎 𝖉 𝖉 𝖊 𝖓 Mastered by Mark Santangelo at The Mastering Palace, NYC
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